"Unless I Swam Upstream, I’d End Up Only Speaking to the Wealthy": Artist Tauba Auerbach On Bookmaking as a Form of Protest

Auerbach showing a visitor her selection of books. Photo: Metropolitan Museum of Art

Even in the face of "more convenient," screen-based technologies, the tactile pages of the humble tome have proven themselves against the test of time, asserting themselves as a ubiquitous symbol of culture and civilization. It's only natural that artists have adopted the book as a medium and have gone totally wild.

In Phaidon's new release, Artists Who Make Books, rare book dealer and publisher of PPP editions, Andrew Roth, along with Printed Matter's Board President Philip E. Aarons, and artist and writer Claire Lehman, compile together 32 prominent international artists (including John Baldessari, Sophie Calle, and Sol LeWitt) who have continuously used books as vital parts of their creative practice, experimenting with the medium's form, function, and history. From underground, D.I.Y. zines to high concept art objects, these artists' books will have you flippin'!

In 2013, as a way to avoid the typical art-market mechanisms of dealers, galleries, and price appreciation (Oh my!) Auerbach founded Diagonal Press, a publishing project devoted to producing books in open editions. In the following excerpt, Editors Philip E. Aarons and Claire Lehmann speak with Auerbach on the value of books and bookmaking to an artists practice, as well as the hurdles that come with running your own press.

[2,3] (2011). Image: thisiscolossal

Philip Aarons: Creating books has clearly been important to you throughout your career. When did that interest begin?

The first books I made were when I was a kid, bored in my parents’ office, waiting for them to be done at work. I had office supplies to amuse myself with—business cards and hole punches and stickers for their Pendaflex files—so I made a lot of books out of those things. My dad showed me how to sew a book with signatures at some point. I still have it: it has a hard cover wrapped in paper with fruit all over it and a metallic red spine. He really did a good job showing me, but I don’t remember how to do it anymore. Then in my teens and early twenties, everybody around me was making and trading zines, mostly about punk music or graffiti, and I made zines as a way to show my drawings, because I had no other way of doing so at the time. I was never content with folding photocopies in half and stapling them, so for my three-issue “periodical” Twentysix (2003–4), named for the number of letters in the alphabet (I was working as a sign painter at the time), the first one had a giant rubber band as a binding, the second one was sewn on a machine, and the third one was printed with a Gocco [a Japanese silk-screening kit] on heavy museum board that I hand cut and wrapped with a printed band. It was an insane amount of effort for something I think I sold for five dollars, if I ever sold it at all. I mostly just gave it away. I was doing that for a while, and then when I started having exhibitions, I’d often make books to include in some way. There was a book-trading piece in one of my first shows in San Francisco, and an alphabetized Bible in my first show in New York. At some point in 2007 or 2008, I started working on a giant pop-up book called [2,3], which didn’t come out until 2011—it took a long, long time. I started it as a lighthearted outlet for some of the ideas I was thinking about while painting, such as making the distinction between different dimensional states more porous. I got really into the paper engineering part of it, and it became mostly about that for me—the pleasure of making it work.

Then I began making a number of books that were really sculptures, but they used the book as a format to riff on. The books Marble (2011), Wood (2011), and Bent Onyx (2012) were made by taking a block of solid material, scanning it, sanding off a paper’s worth of thickness, scanning it again, sanding off another paper’s worth of thickness, over and over, printing all of the scans and binding them together to make a three-dimensional copy of the original material, which had disappeared during the sanding process. The edges of these books were hand painted so that the veins or grain of the material would match up with the printing on the inside. In some ways these projects felt like a success, but I wasn’t satisfied with the way they were operating as books. Part of the beauty of the book is the way it’s distributed, how it moves around the world, and these didn’t participate in that in a way that felt right to me. These books obviously couldn’t be widely accessible, because there was so much handwork involved.

RGB Colorspace Atlas (2011). Image: Sight Unseen

Claire Lehman: What were their edition sizes?

Eight to ten—they were so laborious to make! I was painting edges on the Marble and Wood books for a year and half. Just now I’m sending the last of these books to someone else for hand-painting, because there are a few left and I don’t have time to complete them on my own. It pains me to hand it over to someone else; I’m very conflicted about it. Another book from that time, RGB Colorspace Atlas (2011), was an even smaller edition, just three copies. Each edition is a set of three cubic volumes that model various ways of slicing the RGB color space—the theoretical color model that spatially plots hues by assigning each of the three axes of the cube to red, green, and blue light, respectively. The surfaces of the pages were digitally printed, and I airbrushed the covers and the edges of the text blocks, which I had to do very slowly so that they would never get wet enough to stick together or warp.

CL: Did you collaborate with scientists or fabricators to make those books?

At certain stages, yes, but I tried to do everything I could in my studio. Marble came first, and my studio manager and all-around amazing assistant, Chelsea Deklotz, did a lot of the sanding. We purchased an oscillating flat lap, which is a machine that vibrates a big level surface that you put sanding grit and water on and then place the stone on top. It shakes, and the stone’s own weight presses it against the grit. We had that running in the studio for about a month and a half. I had a very specific way I wanted that book to be bound—so that it would look like a slab—and I didn’t have the skills or the equipment to do that: a heat press, a very large guillotine, those kinds of things. So I connected with this extremely talented master bookbinder, Daniel Kelm. That was a great collaboration because we’re very like-minded people—he used to be a chemistry teacher, and he has a scientific glass collection—and I enjoyed spending time with him. I asked him to explain every single step to me, so we had these extensive conversations about paper grain, adhesives, and so forth, and I learned a lot from him in the process. But in terms of those works functioning as books, like I said, I was unsatisfied, and I started thinking about why and what that meant. Around 2012 or 2013, I was at a point in my career where I was feeling like, all right, I’ve moved in this straight line and things have gone “well,” but there are challenges and moral conflicts in the profession of art that I hadn’t predicted. I entered my career young and with very little knowledge of how the whole business worked—young artists are so savvy today, but I wasn’t, I knew nothing—so I hadn’t built my career with a lot of intentionality. I had just been humming along, totally focused on making drawings and paintings, and the rest felt like it was just kind of happening to me. But I came to a point where I realized that unless I swam upstream, I’d end up only speaking to the wealthiest people in the world or, even worse, acting as an employee to superrich collectors who bought my work just to resell it. I saw that many of the people buying my work didn’t give a damn about the work itself. I found myself becoming cynical, so I spent a lot of time thinking about what I could do to address the position I was in, and I wanted it to take the form of building something rather than taking something apart. So that’s when Diagonal Press started. It’s increasingly important to me. More and more of my attention is drifting to the press.

Marble (2011). Image: Letterology

PA: The move from being a do-it-yourself bookmaker to establishing a press suggests larger edition sizes or even the possibility of publishing other people’s books.

Bigger editions, yes. One of the biggest objectives of the press is to take certain things that I don’t like about the art market out of the equation, and hopefully out of the transaction of sharing my work with others. With Diagonal, everything is an open edition and nothing is signed or numbered, so the things I make don’t really increase in value. Someone could put the publications on eBay, I suppose, but if anybody searches the Internet for a second, they’ll see that they can purchase the same thing from me at the original price. Also, no one knows how much of each thing was made, and nothing is signed, so no copy is more “special” than another copy. I want the interest in the work to be genuine and true, so I’ve tried to create the circumstances for that. When I was first turning the idea of a press over in my mind, I talked to James Jenkin [former director of New York–based nonprofit Printed Matter] about it, and he said, “If you do this, it should be a commitment. If you establish something, you should be committed to doing a certain number of publications every year, not just a single publication for this one New York Art Book Fair.” At first that kind of scared me, but it was good advice. I thought, yes, I do want to make that commitment; I have a lot of ideas that could take the form of publications. I had all of these ongoing projects that I hadn’t known what to do with, like all the typefaces I’d designed over the years for friends’ album art or for the calendar that I used to make every year and give away as a gift. I had always wanted to gather and present them in some way but hadn’t come up with the right way to do it. I didn’t want to sell them as fonts for people to use, for instance, but now, through the press, I publish posters that are specimens of those typefaces. They’re more like documents of letter logic than designs that you can implement for packaging or whatever. And Diagonal Press also makes other things, like mathematical models, drug paraphernalia, symbolic badges, and I’m working on some flags. It’s kind of a catchall for these other ideas that I thought would make more sense as multiples than as one-of-a-kind forms.

CL: Dieter Roth famously said he only made art so that he could fund his bookmaking—he wanted to put his books in the world, but he had to have another area of production to support it. Given all the materials and labor and studio time that goes into producing Diagonal Press books, does it function financially on its own?

No, it’s a money pit, and I don’t care. I only come close to breaking even, but that isn’t accounting for my time. But I can spend that time because I also sell paintings, so I guess it’s very similar. It’s not a priority to make it work financially, other than the fact that I would like to prove to myself that it’s possible to have a viable business that isn’t compromised—and I see now that it is very, very hard to do something completely on your own terms. I’m lucky to work with two excellent art dealers, but still, I wanted the press to be totally autonomous. Of course, I discovered that there is a huge reason why dealers exist—a lot of time and work goes into the mechanics of making something and getting it out into the world. So I have a great part-time employee, Ada Potter, who helps me with the press and is doing most of the production now, like the binding and rubber stamping. I just got a guillotine, so the book I’m making for the 2016 New York Art Book Fair is a weirdly shaped guillotine-sliced book. It will be professionally printed, but I’m cutting each one myself here. When I was doing the cutting tests, I realized that it was impossible for me to make them all the same, so I decided to lean into that and make them really vary. It’s the first publication I’m doing as “open edition, all unique.” So far, I’ve kept everything completely the same so that no one copy is more valuable than any other. I’m hoping that if these are all different, the edition will function the same way. On the subject of editions having variation, I have a slightly difficult situation at the moment. For two publications—the books that accompanied my most recent exhibition [Projective Instrument, 2016] at Paula Cooper—I used vinyl for the covers. I made them in the winter and now it’s summer, and the vinyl has become wiggly and weird! So now I have to change how I’m making these two books. And I have another book that we were binding with yellow tape all along, but they discontinued the yellow tape—so this publication has to change, too.

PA: So they become, de facto, limited.

Yes. And I can’t control these circumstances! I have to roll with them. That’s part of the meaning of “open,” but at the same time, it poses a dilemma for me. For the edition where the vinyl covers are warping, if I change the cover material going forward, then the original version, which is flawed and in my opinion worse—

CL: —becomes the collectible.

Yes, which is so annoying! I haven’t figured out how to deal with it. I mean, sometimes change needs to happen. And what if I want to make changes voluntarily, to improve on something? This type of progress can and should continue to happen. The last thing I want is for my thinking about value and distribution to hinder the creative part or prevent me from improving quality. That would be another way of letting those forces win.

CL: How many books has Diagonal released?

Nine at this point. There will be one more by September 2016. The last two publications, the ones with the vinyl-cover issues done in conjunction with the Projective Instrument show, are the first Diagonal Press works that are not my own. They are republications of books [Projective Ornament (1915) and A Primer of Higher Space (1913)] by the architect and theosophist Claude Bragdon, who wrote extensively about four-dimensional space. I feel a kindred connection with him, and I hope he would have approved of the way I remade his books. He was also a publisher, and his book designs were excellent.

A Primer of Higher Space (1913/2016). Image: Diagonal Press

...

CL: With many of your books, you reveal visual experiences that are typically unavailable in normal dimensional space or time: a shape transforming from two dimensions to three in [2,3]; the inside of a mathematical color space in RGB Colorspace Atlas; the interior of a solid material in Marble, Wood, and Bent Onyx; the transitions of a video dissolve in Saccade 1, 2, and 3 (2013). I’m curious to know whether you come up with the idea of making a book first, or whether you initially have an interest in exploring a particular idea, which then dictates the book form.

I think the causality runs in both directions. Usually I have a few ideas that I’m obsessing over, and I seem to always be in the process of learning new production techniques, so often a book appears when those two things converge. I like the challenge of working within “what’s possible,” because usually the answer is “a lot.” For the book that I’m working on now [There Have Been and Will Be Many San Franciscos, 2016], I’d been thinking about all the consumer-level press equipment that I could exploit, and I had the opportunity to get a guillotine from the folks at Peradam [a small publisher of artists’ books], so I brainstormed about different ways to use it. I also liked the printer LINCO, but their minimum print run is a thousand copies of any plate, usually much too high for me. So I decided to make a book composed of 175 pages of the same image—of a wall in San Francisco—and then shear the stack of prints and cut it in the guillotine at various angles. The result is these kind of stretched-out, spooky shapes. It’s like the ghosts of San Francisco past, little distorted slices in time. I’m sad about my home city right now and this is a little love letter to it. But also, this oddly shaped book is an expression of how perplexing and stretchy I find time in general, and how I think what we are experiencing is just a slice of something more complex.

PA: One of the things I love about your books is that you’re always questioning how we’re thinking about books, especially their linear quality and their dimensional quality. All True No. 1 (2005) seemed to me both linear and circular at the same time. And it’s sort of zine-y in a sense, right?

Yes, I stuck down every piece of tape, wrote every equals sign, Gocco-printed the covers, everything. I think of its logical structure as a Möbius strip: if you follow the path from the beginning to the end, you arrive at a place that is conceptually on the opposite side of the surface you started on, but you never left that surface to get there. Then, if you follow that path around the loop again, you end up on the first side. I like that, typically, a book is a collection of text in lines that are arranged into planes, which are bound into a volume. So there are one-, two-, and three-dimensional features that you’re moving through and interacting with, and there is a lot of opportunity in that. This is why I mess with format and binding so often.

There Have Been and Will Be Many San Franciscos (2016). Image: Diagonal Press

PA: Stab/Ghost is interesting to me as a book form, because it seems as though you’ve given a relatively high degree of primacy to the binding.

The binding is often a key feature because it’s structural and requires some kind of engineering. A lot of the enamel badges that I’m making for Diagonal Press are drawings of these binding structures. It’s fine with me if people treat them like just a “cool shape” or something, but unknowingly, they’re walking around with a symbol of holding together. I like that symbolic idea of binding, particularly right now.

CL: Is it fair to say that your engagement with books has been quietly political all along?

With the exception of the books that I really consider sculptures (like Marble and RGB Colorspace Atlas), yes. The way I make and work with books is definitely an expression of a certain politics, even if the publications are not explicitly about those politics.

PA: One of the things that I admire a lot about your book practice is that at the New York and Los Angeles Art Book Fairs, you are there presenting your work—manning the booth yourself.

I don’t like how when you become successful as an artist, you become increasingly sequestered from your audience. You find yourself at dinners flanked by collectors rather than artists or other peers. I hate the whole fame game so much. Being at the Art Book Fair is a nice opportunity to speak to all types of people. I end up having conversations with design students who want to talk about fonts, or people who just came because it was a good weekend family activity, and then of course there are librarians and book enthusiasts. I like it, at least for now, and it feels right to put my body in the space as an expression of commitment.

Auerbach at NYABF 2014. Image: MoMa

CL: Have you ever thought that the press could become your primary activity? Would you ever want to see that happen? Is there a part of you that desires that?

I really love painting. And working with glass. And weaving. And a million other things. I can’t give up making other work, and I think exhibitions can’t be replaced by publications. I like using them together. And also I think that it’s going to be necessary to do that other work if I want Diagonal Press to continue.

PA: That’s one of the reasons bookmaking is so interesting to me—it exists beyond commercial activity.

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Please note that if the auction moves to a physical live event (the auction page will specify this and the bidder will be noticed as such by email), the highest bidder after the close of the online auction will be the opening bid at the event and will be notified within 48 hours after the event if the bid is the final winning bid or been outbid by someone at the event.

Bidding Increments

When placing a bid, enter the maximum amount you are willing to pay for the work. Entering your "Maximum Bid" does not necessarily mean you will pay that price, you may pay less. The Auction system will Proxy Bid on your behalf up to the amount of your Maximum Bid. Once you enter your Maximum Bid, your current bid displayed will be in the amount of the "Next Minimum Bid." As the auction proceeds, Artspace will compare your bid to those of other bidders. When you are outbid, the system automatically bids on your behalf according to the bidding increments established for that auction up to (but never exceeding) your maximum bid. We increase your bid by increments only as much as necessary to maintain your position as highest bidder. Your maximum bid is kept confidential until it is exceeded by another bidder. If your maximum bid is outbid, you will be notified via email so that you can place another bid.

If the auction is a benefit auction or an auction with a physical event (which will be noted on the auction page), all online bids will be transferred to that event and Artspace or the organization running the event will continue to monitor your bids in person and continue Proxy Bidding on your behalf up to your maximum bid. Winning bidders will be notified within 48 hours after the close of the auction. If you are not contacted by Artspace, you were not the highest bidder.

Closing the Auction

Upon the close of each auction Artspace shall separately confirm the highest bid to the seller and notify the buyer submitting the highest bid that the bid was successful and the amount of the buyer’s premium due to Artspace to be charged to buyer’s credit card. Artspace shall thereupon charge buyer’s credit card in the amount of the buyer’s premium.

Upon receipt of the buyer’s premium Artspace shall email both the successful buyer and seller and shall provide each with the name, address, telephone number and email address of the other; buyer and seller are thereafter solely responsible for arranging for the transmission of payment of the purchase price within 24 hours of the transmission of the Artspace email and for prompt shipment of the goods after receipt of good funds. If for any reason after Artspace’s initial confirmation of the successful bid the buyer cancels the transaction or fails to make payment to the seller, the buyer shall remain liable to Artspace for the full buyer’s premium and Artspace reserves the right to retain such buyer’s premium in addition to any other remedies it has at law or equity.

Any dispute with respect to the auction of any item shall be resolved between buyer and seller and without the participation of Artspace. Seller is solely responsible for collecting payment from the buyer. Artspace does not guaranty and is not responsible in any way for the performance of buyers or sellers participating in the auction.

Responsibilities of Auction Buyers and Sellers

Goods offered on Artspace Auctions must be tangible goods that meet the requirements of the Site. Sellers shall not offer any goods for sale or consummate any transaction initiated on Artspace Auctions that violates or could cause Artspace to violate any applicable law, statute, ordinance or regulation. Artspace shall have sole discretion as to whether a specific item meets the requirements of the Site, which determination is final.

Sellers offering goods shall post a description of the goods offered and may set a minimum reserve price, a minimum overbid amount and the termination of the auction of the goods. Sellers agree to accept the highest bid above their set reserve price and to deliver the offered goods to the buyer submitting such highest bid. Any goods offered using a seller’s registration log in information shall be deemed by Artspace and any bidding buyer as being offered or authorized by that seller. Sellers are solely responsible for the description, condition, authenticity, and quality of the goods offered. Sellers represent that they are in compliance with all applicable laws, including without limitation those regarding the transmission of technical data exported from the United States or the country in which the seller resides as well as the restrictions on import or export of goods from the seller’s country to the buyer’s country.

By posting goods on the Artspace Auctions each seller represents and warrants that he/she holds free and marketable title to the goods offered and that the sale to any buyer will be free and clear of any and all liens or encumbrances. Sellers agree that Artspace Auctions will publish images and information in English relating to the goods offered by sellers. Sellers are solely responsible for descriptions of goods and all other content provided to Artspace by seller. Each seller agrees that Artspace may reformat content submitted by sellers in order to best serve the needs and formatting of the Artspace Auctions. Sellers grant Artspace a perpetual, irrevocable, royalty-free license to use the listing information in other areas of the site in our sole discretion.

Sellers are responsible for shipment of goods to successful bidding buyers upon receipt of the purchase price. Sellers must make shipment promptly on receipt of good funds from buyers. Sellers are responsible for collecting any and all applicable taxes from the successful buyer and for remitting such taxes to the applicable taxing authority.

Buyers are responsible for determining the value, condition and authenticity of the goods. Buyers participating in the Artspace Auctions represent and warrant by placing any bid that they are ready, willing and able to pay the purchase price bid, all applicable taxes and the buyer’s premium all within 24 hours of the close of the auction if they are the successful bidder. Any bids submitted using a buyer’s registration log in information shall be deemed made or authorized by that buyer. Each buyer placing any bid represents and warrants that such bids are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state laws. Each buyer is responsible for payment of New York State and local sales tax, any applicable use tax, any federal luxury tax or any other taxes assessed on the purchase of the goods. The buyer is solely responsible for identifying and obtaining any necessary export, import, or other permit for the delivery of the goods and for determining whether the goods are subject to any export or import embargoes.

Artspace not Responsible for Auction Submissions; No Representations or Warranties

Sellers and buyers agree that Artspace is not responsible for and does not make any representations or warranties (express or implied) as to the goods offered, including without limitation as to merchantability, fitness for a particular purpose, the accuracy of the description of the goods, the physical condition, size, quality, rarity, importance, medium, provenance, whether the goods are subject to export or import restrictions or embargoes, shipment or delivery, packing or handling, the ability of the buyer to pay, the ability of the seller to collect the purchase price, or any other representation or warranty of any kind or nature. Artspace is not responsible for any errors or failures to execute bids placed online, including, without limitation, errors or failures caused by (1) loss of connection to the internet or to the online bidding software by any party, (2) a breakdown or failure of the online bidding software, or (3) a breakdown or failure of any seller’s or buyer’s internet connection or computer or (4) any errors or omissions in connection with the bidding process.

Open Positions on Careers Pages

We may list open employment positions on this web site. These postings are for informational purposes only and are subject to change without notice. You should not construe any information on this Site or made available through Site as an offer for employment. Nor should you construe anything on this web site as a promotion or solicitation for employment not authorized by the laws and regulations of your locale.

Privacy Policy; User Information

In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

International Use

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

Proprietary Rights

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.